Garrett Hope

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The Wexford Carol is an Irish Christmas carol. Some sources credit the origin of the melody as early as the 12th Century, but contemporary scholarship dates it to the 15th or 16th Century. 

This arrangement uses lush harmonies, counterpoint, and colorful orchestration to bring the carol to life. 

The Wexford Carol is a perfect addition to your holiday concert. Players and audience alike will love it.

Wexford Carol

Concert Band Score & Parts

Golden Slumbers Kiss Your Eyes is both a lullaby for an expected baby of
  a former teacher, and also a heart-felt musical expression of love and
  gratitude for the role he has played as a mentor, professor, and conductor at
  Colorado Christian University. 
    
    
    
    Golden Slumbers Kiss Your Eyes has three themes presented in rondo form.
  The primary lullaby theme is based on a simple four-note motive originally
  presented in the flutes with most of the band singing on "ooh." It
  ebbs and flows like waves on the ocean and grows in beauty and range with
  each presentation throughout the piece. The climactic third theme is based on
  the names of the people for whom the piece is dedicated, Mark and Jill Dorn.
  The piece ends with two ever-more peaceful statements of the lullaby.

Golden Slumbers Kiss Your Eyes

An energetic, but short, piece with a militaristic 7/4 march moving resolving into a dramatic 4/4 ending.

The Thinker

The Sandhill Fanfare was written as a celebratory concert opener. It is a joyous and energetic piece fiercly proclaiming the natural wonder of the open plains and the animals and people that live there.

The brisk 12/8 meter is peppered with syncopated rhythms. There are two primary rhythmic patterns. The rst, introduced in the low brass, horns, and saxophones is carried throughout by bass instruments and tutti in the short interludes (e.g., m. 16ff). The second rhythm, first heard in the wood- winds, acts as a rhythmic counterpoint to the other creating an exciting interplay.

Sandhill Fanfare

"Lightens the dark clouds, which He treads upon" is a mediation on the process of becoming illuminated. In 1911 Evelyn Underhill wrote in "Mysticism," "In illumination we come to that state of consciousness which is popularly supposed to be peculiar to the mystic: a form of mental life, a kind of perception, radically different from that of 'normal' men."

Much of the music was inspired by two images from the illuminated St. John's Bible: "Crucifixion" and "Transfiguration."

The title comes from "Ascension," a poem written by John Donne (15711631):

Salute the last, and everlasting day,
Joy at the uprising of this Sun, and Son,
Ye whose true tears, or tribulation
Have purely wash'd, or burnt your drossy clay.
Behold, the Highest, parting hence away,
Lightens the dark clouds, which He treads upon;
Nor doth he by ascending show alone,
But first He, and He first enters the way.
O strong Ram, which hast batter'd heaven for me!
Mild lamb, which with Thy Blood hast mark'd the path! Bright Torch, which shinest, that I the way may see!
O, with Thy own Blood quench Thy own just wrath; And if Thy Holy Spirit my Muse did raise,
Deign at my hands this crown of prayer and praise

Lightens contains moments of layered textures that overlap like waves on a beach. I tried to make it very colorful from an orchestrational perspective. A few simple thematic ideas, one of which is a chaconne-style bass line that keeps coming back and is the basis for much of the later chord progressions.

The music is fairly sectional, but to me that helps drive the drama of illumination. There's nothing tricky rhythmically, however, the tonal centers and shifting chromatics can make intonation across the ensemble a challenge.

Lightens the dark clouds, which He treads upon

Polaris is a cinematic piece for grade 3 string ensemble with rapid spiccato rhythms, long legato phrases, and delicate harmonies. For more, visit http://garretthope.com/polaris/.

Polaris

String Orchestra Score & Parts

Parts

Ataraxia is a fantasia on a them written for Jack Knight. Jack is a high school junior with Duchenne Muscular Dystrophy. It starts with a large brass chorale, explores several ideas and wraps up with a heroic statement of Jack's Theme. It ends with a crushingly loud sonority played in unison rhythm across the band as a triumphant celebration of Jack's spirit. It features tight syncopation, interesting modulations, exciting percussion, and sectional independence.The title, Ataraxia, symbolizes Jack's equanimity in the face of Duchenne Muscular Dystrophy and the Knight family's search for peace. No child should have to face the endless medical interventions and challenges that Jack has experienced. The ever-shifting tonal and musical landscape in Ataraxia is similar to the rapid and devastating changes Jack has faced in his life and body.Though this music is more like an action movie (Jack does LOVE Star Wars after all), the definition of ataraxia is, "A state of freedom from emotional disturbance and anxiety; tranquility." The music treats the term as a process. By the end the listener, and Jack, have achieved ataraxia.Chase the Music commissioned Ataraxia for Standley Lake High School in Westminster, CO under the direction of Carissa Duran. The piece was premiered in February of 2018.

Ataraxia

Concert Band Part

Gather the Courageous is a vibrant and celebratory composition commissioned by the Lincoln Community Concert Band of Lincoln, NE on the occasion of their 25th-anniversary concert. This piece serves as a fitting tribute to the band's founder, Jack Snider, whose vision and dedication laid the foundation for the quarter-century of musical excellence.

The composition opens with a march-like fanfare, serving as a prelude to the musical journey that follows. This fanfare introduces a central 4note motive, derived from the letters of Jack Snider's name, which becomes the thematic core of the entire work. This motive acts as a musical emblem, embodying the spirit and essence of Jack's enduring legacy.

As the piece unfolds, it takes the audience on an exhilarating journey through a diverse soundscape. Energetic brass chorales resonate with a sense of triumph and camaraderie, reflecting the unity and strength of the band's members past and present. Fast runs in the woodwinds add a playful and dynamic element to the composition, representing the ever-evolving and adventurous spirit of the band's musicians.

Exciting percussion drives the piece forward, adding layers of rhythm and intensity, echoing the heartbeat of the Lincoln Community Concert Band and its dedication to the art of music. Gather the Courageous captures the essence of this remarkable community of musicians and their shared passion for music.

Gather the Courageous

Boreas is a thrilling piece for grade 3 concert band with 3 against 2 rhythms, strong horn and low brass lines, and detailed percussion parts. Boreas was the god of the cold north wind in Greek mythology. He brought winter to the land and was known for his strong and violent temper. Images from ancient Greece often depicted Boreas as an old man with wild shaggy hair and a conch shell in his hands. The music opens with loud dark blasts similar to a foghorn. These blasts warn of the coming weatherstorms, fog, and cold. The opening section introduces the listener to a swirling restless motive that returns in the calmer internal section. The horns and trombones introduce the listener to Boreas powerful and strong temperament, which drives the music along to its exciting conclusion.

Boreas

Boreas was the god of the cold north wind in Greek mythology. He brought winter to the land and was known for his strong and violent temper. Images from ancient Greece often depicted Boreas as an old man with wild shaggy hair and a conch shell in his hands.The music opens with loud dark blasts similar to a foghorn. These blasts warn of the coming weatherstorms, fog, and cold. The opening section intro- duces the listener to a swirling restless motive that returns in the calmer internal section. The horns and trombones introduce the listener to Boreas' powerful and strong temperament, which drives the music along to its exciting conclusion.

"August Rising" is a lyrical piece designed to captivate both players and audiences alike. Scored for grade 3.5 string ensemble, the rich, flowing melodies evoke a deep sense of contentment, joy, love, and peace, offering a perfect opportunity for your ensemble to explore expressive phrasing and dynamic contrast. Orchestra directors will appreciate how the piece challenges students while remaining accessible and rewarding. This work not only engages your players musically but also resonates emotionally, ensuring it will be a favorite among performers and listeners alike.

August Rising

Score & Parts

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"Well" is a serene, yet challenging, composition for alto saxophone and piano. It features interplay between the instruments, interesting modulations, and beautiful melodies. It is an arrangement of the hymn tune 'It Is Well' commissioned by Vanessa Woolsey. The piece begins with a simple texture of melody in the saxophone and block chord accompaniment in the piano, creating a serene atmosphere. After growing turmoil that is intensified by chromaticism and dialogue between the instruments, the piece eventually finds contentment again with a call and response between the piano and the saxophone declaring It Is Well With My Soul.

Well

Alto Sax Solo with Piano

The story of the woman who washed Jesus' feet with her tears and anointed  his feet with perfume has been a favorite of Mark Dorn's for as long as I've  known him. It wasn't a surprise, then, when he asked me to write a piece  using this story as the central part of the music. The narrative (found in  Luke 7, Matthew 26, Mark 14, and John 12) tells us that Jesus is dining at  the home of a Pharisee when a woman, "who lived a sinful life"  (Luke 7:37 TNIV), entered the room and began crying over Jesus' feet soaking  them with her tears, which were tears of remorse and repentance. The woman  used her hair to wipe clean Jesus' feet and when she was done she poured very  expensive fragrant oil over his feet, anointing him. There is much to learn  from these passages, but three things that stand out are that the anointing  oil was extremely expensive, it appeared to be used wastefully, and as the  Apostle John observes, "the house was filled with the fragrance of  perfume" 12:3 TNIV).                Music, in many ways, is like the jar of perfume. To begin with, it  certainly is not cheap. There are material costs wrapped up in instruments  and their maintenance, the purchasing (or commissioning) of music to be  performed, and the overhead necessary to store, practice, and perform music.  Of more value are the human hours spent developing music. Not even  considering the weeks, and often months, it takes to compose a new work,  musicians spend years honing skills. Some authorities in the field of human  performance claim that it takes a minimum of ten thousand hours of diligent,  focused practice to achieve expert levels of performance. Certainly music is  very expensive.                Music can also appear to be used wastefully. Music performed live happens  once and then it is gone. It is the most ephemeral of the arts. Today we can  recall and enjoy almost any piece of music because of recordings. We have  found a way to fix the ephemeral quality of music. Yet recorded music is but  an image of a performance, and like Paul says about our understanding of God,  the image of music portrayed through a recording is similar to "a  reflection as in a mirror" (1 Corinthians 12:12 TNIV). Identical to the  jar of perfume, once music is poured out it can never be returned and once  the sound dissipates it is over forever.                And yet, like the perfume, music has the ability to fill a house with its  fragrance. In short, it becomes a blessing to all. Whether the dinner party  members at the Pharisee's house realizes it or not, they too, were blessed  with the fragrance of Jesus' anointing. I believe music has the ability to  bless those who hear it even if they weren't listening.                So I had to ask myself, "How do I go about expressing all of this in a  new piece of music?" Rather than composing a programmatic work I chose  to focus on the perfume as a character of the narrative contained in all four  gospels. Most apparent to me were the qualities of perfume. Perfume goes out  {it fills a room with scent), it is expansive, and it was given as a gift. It  draws in by being seductive and sensual and it invites intimacy. for me the  similarities between the perfume and music only have gotten stronger. My goal  was to reflect these qualities musically. There are moments of simplicity and  moments of complexity; there are moments of introspection and moments of  extroverted energy; and there are moments of remorse and repentance balanced  with moments of joy. There are four major sections to the form for the most  part Fragrant moves from darkness to light throughout.

Fragrant

"Magnificat" stands as a grand and fitting conclusion to the festive tapestry of holiday concerts. This exhilarating composition, crafted to showcase the collective talents of all students on stage simultaneously, delivers a dynamic blend of energy, drama, and sheer enjoyment. As the climactic finale, "Magnificat" features moments of exquisite lyricism, providing a harmonious contrast to its over- all spirited character.

Set to a Latin text, the chorus presents the text in a grand and dramatic way. A soprano soloist leads the ensemble through the lyrical internal section. Its vivacious and celebratory nature makes it an ideal choice to leave a lasting impression on both performers and audience members alike. e composition encapsulates the joyous spirit of the holiday season while allowing each partici- pant to contribute to the communal musical experience.

The history of the Magnificat dates back centuries, finding its origins in the Gospel of Luke where it is Mary's hymn of praise upon learning of her impending motherhood. rough the ages, this sacred text has inspired numerous musical settings, with composers from different eras and genres embracing its profound and expressive qualities. "Magnificat" continues this tradition, offering a contemporary interpretation that unites voices in a collective crescendo, echoing the enduring resonance of a timeless musical tradition. This composition serves as a testament to the enduring power of music to connect generations and create memorable experiences in the spirit of the holiday season.

String parts are included for the purpose all students performing, but are not necessary for a successful performance using this arrangement. A symphonic orchestra version (with less wind and brass parts) is also available.

Magnificat

"Arrival of the Tuatha de Danann" is a captivating musical composition that transports listeners to the mythical shores of ancient Ireland, where the enigmatic Tuatha de Danann make their majestic arrival. Like ghostly ships emerging from a thick fog, the music unfolds with an ethereal quality, enveloping the audience in an atmosphere of mystery and wonder.

Drawing inspiration from Celtic traditions, the piece features enchanting melodies that echo the spirit of the Tuatha de Danann, evoking a sense of ancient magic and folklore. The rhythmic heartbeat of Irish percussion instruments, including the bodhran and spoons, adds an authentic and dynamic element to the composition, creating a vivid auditory journey.

Chromatic modulations further enhance the narrative, reflecting the unfolding drama of the Tuatha de Danann's arrival. The music weaves through intricate textures, conjuring a sense of otherworldly landscapes and captivating the imagination of both performers and listeners alike.

The Tuatha de Danann, in Irish mythology, are a mythical race associated with extraordinary magical abilities. Believed to be skilled artisans, poets, and warriors, they represent a legendary and mystical presence in Irish folklore. "Arrival of the Tuatha de Danann" captures the essence of this mythical people, offering a musical experience that transports audiences to a realm where the ancient and magical meet, leaving a lasting impression on performers and listeners alike.

Arrival of the Tuatha de Danann

The Admiral Bryce March was written as a gift for band conductor and educator Bryce Adams. Bryce teaches at North Kitsap High School in Paulsbo, WA. He loves the water and sailing. Therefore a nautical theme was appropriate!

The march is in a moderately-quick 6/8, with flexible instrumentation to meet the needs of the conductor and the students that are available.

Most rhythms are in the wind players are no shorter than an 8th note though there is a distinctive dotted 8th, 16th, 8th motive that recurs.

Timpani, snare, and bass drive the rhythm. At mm. 85 the backbeat accent switches from the snare to the timpani and bass drum. The timpani part is optional.

The Admiral Bryce March

Flexible Instrumentation Score & Parts

Movies and games. When I first met with Dr. Eliza Jeffords' students at Texas Lutheran University it was the music of movies and games that they enjoyed listening to and performing the most. I'm not terribly surprised. That was, and still is, music that has meant a great deal to me in my life. In fact, I can easily say that movie soundtracks were part of the reason I started composing. I set out to write a piece of music with a sweeping cinematic theme, but with the rhythmic energy and intensity of a contemporary film and game score. In the process I also discovered a haunting melody that found a home in the internal section surrounded by delicate harmonies that sigh in relief to the theme. Each section of the ensemble has an opportunity to present the theme of this grade 3 work and to drive the piece forward with intense rhythms. This piece is dedicated to my grandfather, A. B. Thompson, who lead a life of adventure and modeled following your passions, acting in integrity, celebrating family, and enjoying life. As he was a life-long lover of all things outdoors, Polaris represents the wild and ever-seeking nature of my grandfather while also providing a sign to always find your way home.

A four-piece set arranged for Grade 2 concert band by Garrett Hope. Bartok composed the pieces in 1908-1909 and first published them 1908-1911. These four pieces consist of Hungarian folk melodies and original tunes by Bartok. The modalism and interesting harmonic structures of these Eastern European melodies have an exotic quality to them and will be a welcome addition to your Grade 2 programming.

Four Short Bartok Pieces

Ataraxia is a somber, yet heroic, Grade 3.5 composition for concert band. It features tight syncopation, interesting modulations, exciting percussion, and sectional independence. Ataraxia is a fantasia on a theme written for Jack Knight, a high school junior with Duchenne Muscular Dystrophy. It starts with a large brass chorale, explores several ideas and wraps up with a heroic statement of Jack's Theme. It ends with a crushingly loud sonority played in unison rhythm across the band as a triumphant celebration of Jack's spirit. The title, Ataraxia, symbolizes Jack's equanimity in the face of Duchenne Muscular Dystrophy and the Knight family's search for peace.  For more visit http://garretthope.com/ataraxia/.

Pyromania is a fun and energetic display of saxophone dexterity. The piece consists of a constant flutter of sixteenth-notes creating a flow of sound that a melody occasionally rides upon.

Pyromania

Saxophone Quartet

Global Sections - CORE [DO NOT TOUCH]*

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